By Barry Magrill
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Extra info for A Commerce of Taste: Church Architecture in Canada, 1867-1914
Publishers sold the latest architectural fashions by using pseudo-etched prints marketed as historical authority. The result of the scheme of promoting history to market the latest trends in architecture replaced the mystifying experience of an original work of art with the exhibition value of mechanical reproductions. 25 The attractiveness of the illustrations in the pattern books had a great impact on both professional and non-professional readers. So long as the images were well illustrated, readerships did not seem to mind that lithography had replaced original drawings.
15 The reference to “Popery” was a derogatory term used by Anglicans to describe what they believed was an overabundance of ritual in Roman Catholic church service. The implication that Roman Catholic church architecture was impure or “dross” meant that Anglicans claimed the entirety of English medieval architectural history for their own. Indeed, it even appeared unnecessary, or redundant, for Wills to include the term Anglican in the title of his pattern book, as was the case with most others written for Anglican use, furthering the Church of England’s assertion of exclusive cultural ownership of English medieval architecture and its premiere place in pattern book production.
7). The architect invigorated the surface of his church with rich ornamental detail on the buttresses, Fig. 6 Christ Church Anglican Cathedral, Montreal, Quebec. 24 • a commerce of taste Fig. 7 St Mary’s, Snettisham, Norfolk, England, thirteenth century. spire, windows, and the projecting triple-arched western porch. The roughly textured Montreal greystone added another layer of richness to this building erected, on rue Saint-Catherine, in Montreal’s emerging commercial sector. Bishop Francis Fulford of the Anglican Diocese of Montreal was charged with overseeing the plans for construction.